The International Dance Alliance (IDA) festival has established itself as an unofficial curtain raiser for the cultural calendar in Chennai that grinds to a halt come summer. And is no small event either, given the collective effort of the young dancers and their gurus, twelve groups in all, who over two days packed into each 20-minute presentation as many construals or episodes as possible.

Professionalism of dance presentation pioneered here with the IDA, and the organisers, Leela Sekhar, Revathi Ramachandran and Radhika Surajith ran the show with efficiency and dignity. The choreography was the only aspect that suffered in this foray, for most were literal interpretations, the focus being on technical virtuosity and co-ordination within the groups. The poor recordings and the blaring sound system were harsh on the ears, especially on the first day. The stage decor by C.S.Thomas was aesthetic, but somewhat overdone.

Haunting tunes from films like Pasa Malar, Penn, Uthamaputhiran, Avvaiyar, Meera, Todi Ragam, Konjum Salangai, Karupukkarasi... filled the air and set Narada Gana Sabha, overflowing with family and friends, ablaze with nostalgia. Most of the presentations were thematic in nature- love, Krishna, Muruga, social reform and patriotism were some popular topics. The standard of performance varied from mediocre to excellent, but the earnestness of the dancers struck a chord of empathy in the viewer. The very young were the most impressive. Luv and Kush as narrators in 'Luva Kusha' comprising students of Sridevi Nrithyalaya, and choreographed by Sheila Unnikrishnan were endearing in their co-ordination and expressiveness. Their group managed to convey the story of Rama in just 20 minutes! The child Muruga in 'Sri Valli' was another scene-stealer. The tightly packed choreography by Muralidharan and Chitra was well synchronized, though the repetition of Valli's encounter with Muruga was incomprehensible.

A special production was the replication of Guru K.N.Dhandayuthapani Pillai's film choreography recreated faithfully by his senior disciple, Usha Srinivasan along with her students. Minute detailing including costumes depicting India's diversity of art and culture, and the country's illustrious sons were in evidence, besides a great degree of rigour and training.

Most productions involved only students from dance schools across the city, but some like 'Facets of Krishna' by Jayanthi Subramaniam and group, presented the guru too on stage. Hers was a much-appreciated segment, with a prudent choice of music and a dignified portrayal from Subramaniam, in addition to a fast-paced staging of the Dasavataar of Padmanabha. 'Awaiting Divine Love' featuring Padma Murali and group from Bangalore, who showcased beautiful songs featuring the pain of separation from the loved one, and concluded with the soulful M.S.Subbalakshmi's 'Katrinile varum geetham,' provided a change of pace. But the alternating role-play by the three dancers, and the constant movement by the other two detracted from the intensity of emotion. Gopika Varma and her group in 'Krishna Smruthi' delineated different aspects of Krishna- as a child, as a deity in Guruvayoor, and as Radha's consort, all in the graceful, unhurried style of Mohini Attam.

The dignity of the Kathak style was brought to the fore in Jignyasa Giri's presentation. She strikes an impressive figure on stage, but her troupe comprising beginners seemed ill at ease. Still, the music was inspiring and the auditorium reverberated with songs from the classics Mughal-e-Azham and Jhanak Jhanak Payal Bhaje. 'Vizhiku Virundhagum Kalaichelvam' was presented by Krishnakumari Narendran in her usual, racy style. The highlight of the presentation was her lively choreography in the Karappukarasi movie song with fast-changing tableaux and poses.

There were some presentations that stood out for their finesse in planning and execution. Gayathri Balagurunathan's 'Aadalgal Palavidham,' a medley of varied themes, was an impressive amalgam of good footwork and crisp choreography. Songs heralding the social revolution in India were featured in 'Sange Muzhangu' co-ordinated by Shivakumar and presented by the students of the Narasimhacharis. The compositions conveyed their meaning even while engaging with the very tangible energy from the participants. The vibrancy in Bharatha Kalanjali's 'Bharathi Kanda Bharatham' with its superb imagery and visuals proved a wonderful finale on the second day, replete with patriotism and proficiency.

The only production that disappointed with its colloquial style was 'Malarum Ninnaivugal' presented by Guru Udipi Lakshminarayan and Madhumathy Prakash.

The two-day gala event proved much more than a visual extravaganza, with the sheer numbers and the elaborate costuming reflecting the participants' enthusiasm.